Did you hear SLIPPERY first EP or you judge by New Album only ? SLIPPERY were accepted by competent moderator when they released EP back in a day.It sounded like WASP. Now band changed direction. What a dumbasss.

I listened to this bands first album last night. Sounds closer to new wave than thrash metal.

The band was accepted in 2005, after the second album was released - did you listen to that one too? It could have very well been thrash metal.

I know I don't have the authority to say this, but seriously, guys, if you're going to report a band for deletion, you really should check out more than one album (or at least all the material that was released up to the point of the band's submission to the Metal Archives). It'd be like if you reported Metallica for deletion because the only album you heard was Load.

In the case of this band (at least according to the additional notes), "his" full-lengths consist of material he stole from other bands and marketed under his own name. I don't know the policy of this, but I'm assuming that they should be deleted. With the demos, it's unclear if they are also stolen or if they are original material, in which case if they are original (assuming they are metal-enough and physically released), then the band should be acceptable to remain here ...

@MalignantThrone: It took a while, but I reviewed each album of "Brutality Will Prevail" and have removed them based upon the same reasoning you've given. That said, the submitter is notorious for his borderline submissions back in 2007/2008 (dark times for band approvals in general), and this is definitely one that fell on the wrong side of the fence. Removed.

@Sly93: Brynjard is a strange case. I remember, and (after some refreshing) can tell you that the project was originally submitted by the band member himself (Arckanum). Back in 2007, it was revealed that a fair bit of the material on his full-lengths was stolen, and likely to cover his tracks he tried appealing to us to remove it (it was a ridiculous appeal where he referred to himself in the third-person). At the time, the mods opted to keep the band until proof could be shown otherwise that his demos also contained unoriginal, stolen material. Nothing ever came of it. Our policy (as is written) is that a band can only be accepted based upon a predominantly metal release. And, following from that, the idea of an acceptable release is one that is clearly original material. Now, the onus on removing a band already on the archives lies on ensuring that the band in fact did not fulfill that policy, and to do that we must be absolutely certain that the demos were akin in their nature to the full-lengths. That said, there's also the point of "clearly original," and in this case it's anything but clear. That, I suppose, is the part that makes its continued existence on this Archive a bit strange to me. From a reasonable perspective, a one-man band, submitted by the band member, and found to be fake is a red flag in itself. I suspect, and I may not be off the mark on this, that the reason it was ultimately kept might have been that the mods who dealt with it (namely CK and Witcher) viewed the original "appeal" by the band member who submitted the band as "historical revisionism" and less that the band member likely did have an actual case for its removal. I guess what I am trying to say is, while it would be nice to have proof one way or another that one of the demos is not entirely fake, it's fairly apparent that the burden of proof lends itself towards the outcome that it is not clearly original material either. I would be in favor of tentative removal, if evidence to the contrary can not be shown.

Wouldn't the inclusion of a band like this on the site serve as kind of a useful "head on a pole" of sorts, clearly informing any newcomer to the band about the frankly dishonest nature of the artist? I mean I know this is contrary to the main focus of the site, but it strikes me as kind of important to have this information available somewhere; especially if the artist is/was actively trying to hush it up.. Obviously this isn't a voting matter, but if it was then my voice would be on the side of "keep it listed".

Wouldn't the inclusion of a band like this on the site serve as kind of a useful "head on a pole" of sorts, clearly informing any newcomer to the band about the frankly dishonest nature of the artist? I mean I know this is contrary to the main focus of the site, but it strikes me as kind of important to have this information available somewhere; especially if the artist is/was actively trying to hush it up.. Obviously this isn't a voting matter, but if it was then my voice would be on the side of "keep it listed".

Any information regarding the plagiarism of the artist could (and ought to be) included on the artist page for that artist. The band itself does not and should not stand as a testament for what differentiates "good" and "bad" behaviour. We're not in the business of showcasing the community's morals.

Thanks for answering. Yes, I suppose I have to agree that not making any special exceptions is the right way for you to handle the issue, however much the thought of information like this being buried irks me. But don't get me wrong though, my intention wasn't as much to suggest that the archive needs to lynch and condemn the plagiarist (however deserved) as it was for the information to stay available so that any user checking the band out could be directed to the actual creative party responsible for the music.

The first one is correctly connected to all of the members on the archives. The second one has little more than the member's initials and track titles, both of which are shared with the other one.

KR = Kaiser Rune (Kris Norris)Kris had a number of projects around that time, before he joined Darkest Hour. I recognize most of these track titles from his other projects (only two have easy links to show, I have some audio files with these titles somewhere from the man himself). Track titles here: http://www.metal-archives.com/albums/Lo ... ctor/15399

Deleted Molodost. Ambient with some programmed black metal moments. Not sure how exactly this got approved...

Based on which exact material? I am sorry but there's really a mistake around here! There are 8 reviews (for my 2 demos) by various people (inc. autothrall and other ones) with varied opinions discussing and describing the "metalness" of the sound... I also believe that my sound qualifies my project to be here since the electric guitar (and it is dominating) is real!

Based on the two demos available for download. As I said, this shouldn't have been approved in the first place. Not sure why it gathered so many reviews in so short a time, good for you I guess, but it's not predominantly metal by our standards.

Based on the two demos available for download. As I said, this shouldn't have been approved in the first place. Not sure why it gathered so many reviews in so short a time, good for you I guess, but it's not predominantly metal by our standards.

Then how come it got accepted in the first place? If this decision is purely based on your opinion, then I am sure that this isn't a fair decision at all, since all reviewers stated that this is an ambient BM-sounding project, I'm not really sure how you could see the 40 minutes of music as "some programmed black metal moments"!

Mistakes and misjudgements in the approval process can happen. Many bands were later reconsidered and deleted again. Molodost wasn't accepted by me and I remember commenting on the band that it was borderline at the very best and another mod agreed with me, but then approved it anyway. Upon re-listen yesterday, the music was so obviously not in accordance with our standards on metal that I could only attribute their approval to a mistake on the other mod's part. It sure is a bit weird, I'll get some other staffer opinions on this, but I'll stand by my decision.

Neither the page nor the reviews themselves are lost at this point, btw.

It wasn't accepted by me and I remember commenting on the band that it was borderline at the very best and another mod agreed with me, but then approved it anyway. Upon re-listen yesterday, the music was so obviously not in accordance with our standards on metal that I could only attribute their approval to a mistake on the other mod's part. It sure is a bit weird, I'll get some other staffer opinions on this, but I'll stand by my decision.

Neither the page nor the reviews themselves are lost at this point, btw.

I see what you're trying to say here, let me know your final decision when you get other staffer opinions

I also should add that a demo released on 10 CD-R copies and another purely digital one do not exactly qualify as a valid release output. I also don't remember any good proof for the CD-Rs included in the submission, so the fact that it was just silently approved is even more suggestive of a simple oversight.

I also should add that a demo released on 10 CD-R copies and another purely digital one do not exactly qualify as a valid release output. I also don't remember any good proof for the CD-Rs included in the submission, so the fact that it was just silently approved is even more suggestive of a simple oversight.

I remember attaching 2 clear photos of the 10 copies of the first demo when submitting the band back then! Anyway I am awaiting your final decision.

I've asked for other opinions and also the mod who approved it to comment. In any case, regardless of the outcome, sorry for the mix-up. Unfortunately these things tend to occur from time to time since the post-singular staffer hive mind has yet to come into being.

I've asked for other opinions and also the mod who approved it to comment. In any case, regardless of the outcome, sorry for the mix-up. Unfortunately these things tend to occur from time to time since the post-singular staffer hive mind has yet to come into being.

No problem at all, I understand the large work and effort you're all doing on this site.

And I surely understand any outcome, it's just that I felt a bit annoyed since it's been there for a relatively long while and I am kind of satisfied with the amount of reviews it is getting.

I've PM'ed you two more reviews. The rest was reposted from blogs (autothrall, for example). Anyway, all reviewers should still be in possession of their review since I sent out emails containing them before deleting the band, just in case.

Molodost's second demo بحر الأحلام translates to 'The Sea of Dreams', and I think that's a pretty good handle for its calm and collected content, which lacks some of the obsessive madness of the Lebanese musician's prior Shades at Salvation Borders. While there are still a handful of black metal aesthetics present, the compositions here are largely rooted in simple, programmed drums and keyboard passages; maintaining a low budget feel, a very underdeveloped level of polish (which some will love and others loathe), and a sort of 'dungeon synth' vibe, only Raed's note selection and synthesized instrumentation is far brighter and friendlier than the formative works of, say, Mortiis or Burzum to fall under this category. Yes, this could definitely fall under the 'guy with a keyboard' or 'bedroom black metal' category, but it's not as if its creator has illusions about to the contrary, or to his own capabilities in terms of production and musicianship.

Much like its predecessor, The Sea of Dreams does feature a cover song, but in place of Burzum, Raed has gone for a far more obscure instrumental by the French band Mortifera; "Epilogue D'une Existence de Cryssthal" from their Vastaiia Tenebrd Mortifera LP (2004). Again, he's not offering all that much of a sonic translation of the original. This is a tinnier, airier, lo-fi recapturing of the original's ambiance, and I have to say, even if I could give Modolost a few points for even paying tribute to such an obscurity, that it might be more interesting in the future if he took on some material that he could really transform into this base set of melodic components. As it stands, the atmosphere and emotional resonance of this incarnation does not feel quite so richly saddening as the original, but neither can I really rip into it, because unlike the new, titular original, "The Sea of Dreams" itself, this one is at least pretty consistent throughout. It's neither as compelling nor bizarre as the title track, but then again, any possible praise for "The Sea..." comes at the expense of its own flaws, which are numerous and somewhat of an obstacle to my overall enjoyment of the demo...

Book-ended by samples of a shoreline, "The Sea of Dreams" feels like a number of disparate ideas thrown into one track, which mirrors the disjointed aesthetics of the earlier demo, but with a more consonant and melodic undercurrent. You've got atonal sounding guitars clanging along as a lead, and some jangling, folk influenced tremolo jangles, with one or two straight surges of pristine, blazing melody that in fact were my favorite moments throughout the demo. Raed applies some garbled vocals (the Arabic lyrics of which I couldn't understand), but the contrast they create against the thinner tone of the music is unfortunately more of a corny embellishment than an effective one. The drums and lower atmospheric tones, as artificial as some will no feel towards them, didn't really bother me much. When a percussionist isn't available, you do what you have to; but neither are they mixed very well, and it only creates a similar amateurish vibe to the last demo. All told, I can't fault Molodost for its ideas, because in hearing this, despite all my complaints, I think this is a musician with some interesting ideas, who simply needs a better studio setup to really bring them all together. Stylistically, this isn't the most petty form of escapism, and the Romantic ideals and inspirations are often well matched to the desperation and agony of DIY black metal, but musically this felt too stripped and scattershot to capitalize on its available strengths.

The is an unexplainable attractiveness to music that buries itself in a low-fidelity production and an assortment of synthetic guitar effects to the point that it seems to be paper thin, yet all-encompassing in the remaining 2 dimensions of its nature. It's difficult to put into a clear perspective, but the sort of blurry, impressionistic landscapes that come into being when hearing one of the various ambient keyboard works out of Burzum or Ildjarn has this effect and will tend to rope in a willing listener to the point of forgetting the world around him. On Molodost's 2nd studio offering, which translates into "Sea Of Dreams", stands a somewhat uneven yet largely inviting rehash of the same principle, but painted over with an intentionally disjointed presentation.

A resulting duality between distant yet coherent sounding melodic ideas and closer yet jarringly obtuse ones defines the primary song, which clocks in at a fairly long 7 minutes plus and makes little secret of its desire to avoid overt production clarity. Much of the song tends to be dominated by a singular, almost toy-like electric guitar that is closely followed by an even more toy-like drum line. All sense of symmetry seems to come and go with the few passing blast beats, which obscure the guitars to a great degree in the background, though they are actually less present than a recurring lead guitar line that intentionally sounds out of tune. at least by the Western well-tempered standard. Vocals mostly come in the form of a faint, low-toned whisper and have only a slight, nominal impact on what is largely an instrumental work.

By contrast, the closing Mortifera cover takes a strictly keyboard oriented route, and definitely lends itself heavily to the sort of dreamy, lost in a mist character that was present on Burzum's "Hliðskjálf", though the song itself is less informed by the latent Eastern influences of said album. It conjures up appropriate images of deep contemplation while alone on a beach either at sunrise or in the closing moments of twilight, led along by a serene piano line and a droning layer of strings and voices in the background, parting way occasionally for a flute that largely imitates the piano. This song alone would likely rope in a lot of people who are predisposed to the atmospheric depth common to a number of funeral doom bands, in spite of the less auspicious production values.

Given that this release is being offered free for all to hear, it is definitely worth a listen, though its audience will tend towards the same exclusive minority in the black metal scene that go in the opposite direction of mainline bands of late. It presents a simplicity that would seem to invite a larger scene, but also a blatant disregard for conventional structure and sonic presentation. This isn't the sort of music that necessarily redefines existing conventions, but is merely bored with attempting to fit in with them at every juncture, yet still maintains an optimal familiarity with other noted figures as referenced earlier.

The is an unexplainable attractiveness to music that buries itself in a low-fidelity production and an assortment of synthetic guitar effects to the point that it seems to be paper thin, yet all-encompassing in the remaining 2 dimensions of its nature. It's difficult to put into a clear perspective, but the sort of blurry, impressionistic landscapes that come into being when hearing one of the various ambient keyboard works out of Burzum or Ildjarn has this effect and will tend to rope in a willing listener to the point of forgetting the world around him. On Molodost's 2nd studio offering, which translates into "Sea Of Dreams", stands a somewhat uneven yet largely inviting rehash of the same principle, but painted over with an intentionally disjointed presentation.

A resulting duality between distant yet coherent sounding melodic ideas and closer yet jarringly obtuse ones defines the primary song, which clocks in at a fairly long 7 minutes plus and makes little secret of its desire to avoid overt production clarity. Much of the song tends to be dominated by a singular, almost toy-like electric guitar that is closely followed by an even more toy-like drum line. All sense of symmetry seems to come and go with the few passing blast beats, which obscure the guitars to a great degree in the background, though they are actually less present than a recurring lead guitar line that intentionally sounds out of tune. at least by the Western well-tempered standard. Vocals mostly come in the form of a faint, low-toned whisper and have only a slight, nominal impact on what is largely an instrumental work.

By contrast, the closing Mortifera cover takes a strictly keyboard oriented route, and definitely lends itself heavily to the sort of dreamy, lost in a mist character that was present on Burzum's "Hliðskjálf", though the song itself is less informed by the latent Eastern influences of said album. It conjures up appropriate images of deep contemplation while alone on a beach either at sunrise or in the closing moments of twilight, led along by a serene piano line and a droning layer of strings and voices in the background, parting way occasionally for a flute that largely imitates the piano. This song alone would likely rope in a lot of people who are predisposed to the atmospheric depth common to a number of funeral doom bands, in spite of the less auspicious production values.

Given that this release is being offered free for all to hear, it is definitely worth a listen, though its audience will tend towards the same exclusive minority in the black metal scene that go in the opposite direction of mainline bands of late. It presents a simplicity that would seem to invite a larger scene, but also a blatant disregard for conventional structure and sonic presentation. This isn't the sort of music that necessarily redefines existing conventions, but is merely bored with attempting to fit in with them at every juncture, yet still maintains an optimal familiarity with other noted figures as referenced earlier.

- Imperialtroll

_________________

Von Cichlid wrote:

I work with plenty of Oriental and Indian persons and we get along pretty good, and some females as well.

Markeri, in 2013 wrote:

a fairly agreed upon date [of the beginning of metal] is 1969. Metal is almost 25 years old

Perhaps a moderator should review Wrath of the Weak. It's black metal esque ambient, and based on listening to their three full-lengths, the music doesn't really have any kind of guitar riffs. Just a noisy wall of guitars and synth melodies.